Sony’s F55 is the chameleon camera. It supports cinematography—and live television broadcasting. It shoots onboard 4K—and also 2K/HD. It has a Super 35mm sensor—and also offers Center Scan mode to shoot with 16mm PL lenses or with 2/3-inch lenses via B4 adaptor, sold separately. The F55 can change personality depending on the needs of the project, the day or the individual shot. It’s uniquely engineered to reward its owners now—and far into the future.

The Sony F55 is open to a world of cinema and SLR lenses. Your choices include PL mount lenses (with the supplied adaptor), Sony's native FZ mount lenses, plus a host of third-party adaptors for Canon and Nikon SLR lenses as well as B4 mount lenses. Our Center Scan mode even acts like a 2x focal length extender, enhancing the versatility of your 35mm glass. While others force you to choose one lens mount or another, the F55 sets you free.

Delighting the director of photography is a major Sony design goal. But with the F55, it's just the beginning. The camera's robust, practical workflows will also delight DITs, editors, colorists and visual effects supervisors. Your team will benefit from fast file transfers, sensitive color handling, and growing compatibility with many of the production community's favorite tools for dailies, editing and color correction.

The F55 camera and AXS-R5 recorder are both scheduled for free firmware upgrades that will deliver more features, more frame rates and more recording options in the months to come. Not only are the upgrades free, but with an internet connection you can download and install them yourself—no need to send the equipment to a service center.

In the hands of talented cinematographers, the F55 brings back amazing pictures. Results on three continents, diverse shooting environments and an impressive range of lighting conditions demonstrate the camera's storytelling potential.

Shoot spectacular HD, 2K or 4K

Does a 4K camera make sense in an HD world? Perfect sense. Even if you're not planning on 4K production, the 11.6 total megapixels of Sony's 4K image sensor enable you to shoot gorgeous, super-sampled HD now and learn how to get the best from the camera.
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Shoot spectacular HD, 2K or 4K

Does a 4K camera make sense in an HD world? Perfect sense. Even if you're not planning on 4K production, the 11.6 total megapixels of Sony's 4K image sensor enable you to shoot gorgeous, super-sampled HD now and learn how to get the best from the camera. Then as 4K postproduction and distribution continue to gain traction, you'll be ready with built-in 4K recording. The F55 supports three major shooting scenarios.

Shoot, Record, Master and Distribute in stunning 4K. You're ready for the more than 13,000 movie theaters with Sony Digital Cinema 4K projectors—and the new wave of 4K home entertainment. Sony is one of several companies that have launched 4K home televisions while cable, satellite and network operators are currently considering the prospect of 4K content delivery.

Shoot, Record and Master in 4K. Distribute in 2K/HD. Derive your delivery format while preserving the original as a future-proof archive. Your master is ready for future 4K release.

4K on-board recording—and three other formats

While the F55 offers the option of glorious 16-bit 4K and 2K RAW recording using the outboard AXS-R5 recorder, not every production is prepared to take advantage. That's why the camera offers four internal recording formats, including the first 4K recording facility built into the camera itself. Internal modes range from 50 Mbps to 240 Mbps (at 24p), for images from HD to 2K to 4K. 2K XAVC internal recording has arrived with the free v2.0 upgrade. You can choose the image type, codec, processing complexity and file size that match the needs of each project.
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4K on-board recording—and three other formats

While the F55 offers the option of glorious 16-bit 4K and 2K RAW recording using the outboard AXS-R5 recorder, not every production is prepared to take advantage. That's why the camera offers four internal recording formats, including the first 4K recording facility built into the camera itself. Internal modes range from 50 Mbps to 240 Mbps (at 24p), for images from HD to 2K to 4K. 2K XAVC internal recording has arrived with the free v2.0 upgrade. You can choose the image type, codec, processing complexity and file size that match the needs of each project.

MPEG-2 HD. The de facto standard for television production. 50 Mbps at 24p.

XAVC HD. The next generation of H.264/AVC Intra-frame coding. 90 Mbps at 24p.

SR File. A fixture in Hollywood production, post production and program exchange. 176 and 352 Mbps at 24p. Available with free v1.2 upgrade, July 2013.

XAVC 4K (and QFHD). Now you can record 4K on to Sony's SxS® PRO+ media. 240 Mbps at 24p. QFHD available with free v3.0 upgrade, expected December 2013.

And the future is bright. Sony has a roadmap of planned firmware upgrades: version 1.2 (July 2013), v2.0 (September 2013) and v3.0 (expected December 2013). Each is available at no extra charge to users with an internet connection. Each is user installable, which means you won't need to bring the camera in to a service center to reap the benefits. And each brings you even more frame rates, more operating features and more recording options.

4K/2K RAW options

The ultimate camera capture system would record every nuance of light and shadow from the image sensor, preserving every detail from every pixel for full exploitation in post-production. If you want the maximum flexibility that 4K and 2K RAW deliver, Sony's optional AXS-R5 Access Memory System recorder is a remarkable choice. Unlike some RAW systems, Sony's 16-bit linear capture preserves more tonal values than the human eye can differentiate. This is also the ideal match for the 16-bit linear ACES workflow. For simplified creation of offline proxies, the camera even provides simultaneous onboard recording to SxS® cards using the same start frame and stop frame as the RAW recording.
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4K/2K RAW options

The ultimate camera capture system would record every nuance of light and shadow from the image sensor, preserving every detail from every pixel for full exploitation in post-production. If you want the maximum flexibility that 4K and 2K RAW deliver, Sony's optional AXS-R5 Access Memory System recorder is a remarkable choice. Unlike some RAW systems, Sony's 16-bit linear capture preserves more tonal values than the human eye can differentiate. This is also the ideal match for the 16-bit linear ACES workflow. For simplified creation of offline proxies, the camera even provides simultaneous onboard recording to SxS® cards using the same start frame and stop frame as the RAW recording.

With the F55, 2K RAW is not just a technical specification. It's a business model. Sony 2K RAW gives you everything you love about Super 35 cinematography with no crop factor, no telephoto conversion on your lenses. 2K RAW is a smart choice for HD productions and it's just one quarter the data of 4K RAW. 2K RAW High Frame Rate has arrived with the free v2.0 upgrade. (Normal speed 2K RAW with the free v3.0 upgrade, expected December 2013.)

"Earth Air Fire Water," a demonstration of F55 2K RAW at 240 fps.

The AXS-R5 has another clever advantage. Its HD-SDI output provides a closer-to-RAW live demosaiced image for outboard monitors and recorders. This is a 4:2:2 10-bit digital signal with S-Log 2 encoding to protect highlights and shadows.

Vast exposure latitude

Cinematographers paint their images with light and shadow. So the ability to render tones from deepest shadows to brightest highlights is a crucial test of any digital camera. The F55 excels, with 14 stops of exposure latitude. DPs have noticed that the camera holds remarkable detail in the highlights, while noise in the blacks is extremely low. The result? Graceful rendering of scene contrast, even in searing sunlight. The camera is rated at ISO 1250 (S-Log 2 gamma, D55 light source). In fact, the camera is so sensitive that one cinematographer actually recorded starlight in exterior night scenes!

Vast exposure latitude

Cinematographers paint their images with light and shadow. So the ability to render tones from deepest shadows to brightest highlights is a crucial test of any digital camera. The F55 excels, with 14 stops of exposure latitude. DPs have noticed that the camera holds remarkable detail in the highlights, while noise in the blacks is extremely low. The result? Graceful rendering of scene contrast, even in searing sunlight. The camera is rated at ISO 1250 (S-Log 2 gamma, D55 light source). In fact, the camera is so sensitive that one cinematographer actually recorded starlight in exterior night scenes!

S-Gamut color system

Directors of photography and colorists are talking about Sony's S-Gamut color system, which made its debut on Sony's 8K flagship, the F65. DPs love how S-Gamut captures images that are closer to what the human eye actually sees. They appreciate the extraordinarily natural results with challenging mixed light scenes. They notice how S-Gamut is changing their approach to lighting. And they see how S-Gamut simplifies color correction.
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S-Gamut color system

Directors of photography and colorists are talking about Sony's S-Gamut color system, which made its debut on Sony's 8K flagship, the F65. DPs love how S-Gamut captures images that are closer to what the human eye actually sees. They appreciate the extraordinarily natural results with challenging mixed light scenes. They notice how S-Gamut is changing their approach to lighting. And they see how S-Gamut simplifies color correction.

The secret to the S-Gamut system is an often overlooked but fundamental component of the large, single-sensor camera: the color filter array (CFA), which screens incoming light so that each photosensor can detect Red, Green or Blue. Sony's S-Gamut system uses phenomenally pure CFA dyes to achieve a range of color that's not only wider than other digital cameras. It's even wider than motion picture print film.

Retaining maximum grayscale

Given all the effort Sony made to achieve 14 stops of exposure latitude, it would be a crime to crush this latitude in recording. That's why Sony gives you a choice of grayscale encoding.

16-bit linear RAW.
Preserve the maximum headroom for color correction. See everything the image sensor has to offer. Like other RAW recording, Sony's system captures a color sample for each photosite on the image sensor. Unlike some others, Sony's 16-linear system preserves more tonal values than the human eye can differentiate. As a result, your look isn't "baked in." It's fully open to creative manipulation.

S-Log 2 Gamma.
Postproduction can take advantage of the full range of grayscale values from the deepest shadows to the brightest specular highlights, thanks to Sony's latest S-Log 2 Gamma. While conventional video gamma preserves 109% of the sensor's nominal peak white, and Sony's original S-Log accommodates 800%, S-Log 2 extends all the way to 1300% of nominal peak white, to deliver the full 14-stop dynamic range of the camera.

Rec. 709 high definition.
Productions intended for television that plan little or no color correction may choose to take advantage of conventional Rec. 709 high definition, which is also available.

Center Scan mode

To deliver the selective focus and beautiful bokeh of 35mm cinematography, the F55 incorporates a Super 35 image sensor, and can scan the entire sensor for 4K, 2K and HD capture. But there are times when productions can benefit from scanning a smaller 2K “window” within the 4K frame. That’s why Sony now offers Center Scan mode.
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Center Scan mode

To deliver the selective focus and beautiful bokeh of 35mm cinematography, the F55 incorporates a Super 35 image sensor, and can scan the entire sensor for 4K, 2K and HD capture. But there are times when productions can benefit from scanning a smaller 2K “window” within the 4K frame. That’s why Sony now offers Center Scan mode. This provides a 2x crop factor, which is almost like doubling the focal length of your 35mm glass, turning your 15.5 to 45 mm zoom into a 31 to 90. Your 300 mm telephoto becomes a 600 with no light loss, no degradation in lens quality. Center Scan mode also accommodates run & gun cinematography with 16mm lenses and the supplied PL mount adaptor or 2/3-inch lenses and an accessory B4 lens adaptor, sold separately.

Cache recording

If you’re waiting for an unpredictable event—whether meerkats poking their heads out of the burrow or lawyers poking their heads out of the courthouse—there’s no need to keep the camera rolling. Sony’s cache recording can capture up to 15 seconds of content prior to your hitting “Record.” The feature works in MPEG-2 and XAVC codecs.
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Cache recording

If you’re waiting for an unpredictable event—whether meerkats poking their heads out of the burrow or lawyers poking their heads out of the courthouse—there’s no need to keep the camera rolling. Sony’s cache recording can capture up to 15 seconds of content prior to your hitting “Record.” The feature works in MPEG-2 and XAVC codecs.

Viewfinders as revolutionary as the camera

It's ironic that with focus so critical, most operators are stuck with viewfinders and on-camera monitors that offer middling contrast and resolution. Sony changes all that with the F55. A new digital interface has given rise to a brilliant new series of viewfinders.
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Viewfinders as revolutionary as the camera

It's ironic that with focus so critical, most operators are stuck with viewfinders and on-camera monitors that offer middling contrast and resolution. Sony changes all that with the F55. A new digital interface has given rise to a brilliant new series of viewfinders.

Amazing OLED: optional DVF-EL100. Don't let the small size fool you. This 0.7-inch* viewfinder has the incredible clarity of 1280 x 720 High Definition. And resolution is just the beginning. Thanks to OLED technology, you get superb brightness, contrast and response. Features include focus magnification and an on/off switch for superimposed display characters.

Higher resolution, higher contrast: optional DVF-L350. Take a major step forward in operating with the incredible image of this 3.5-inch* LCD viewfinder. Compared to previous Sony finders, this one has higher resolution (960 x 540) plus ten times the contrast. The finder is double-articulated. When holding your eye up against the camera is not an option, flip up the eyepiece for monitoring from the back of the camera or flip up the mirror for direct monitoring from the side.

Full HD: optional DVF-L700. This compact 7-inch* LCD viewfinder provides high resolution when shooting in 2K and 4K, not to mention pixel-for-pixel 1920 x 1080 representation of your HD images. The monitor stands up to exterior day shooting with high brightness (1000 cd/m2). HD-SDI input and output connect to other cameras, other sources and other monitors. The supplied Israeli arm enables mounting at almost any angle.

Modularity and versatility

Sony spent two years in close consultation with cinematographers and ACs. In particular, we focused on the ergonomics of handheld and shoulder-mounted shooting. The result is an ergonomic design unlike any previous Sony camera. It starts with a highly compact camera that builds up with modules to form an elegant, unified system.
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Modularity and versatility

Sony spent two years in close consultation with cinematographers and ACs. In particular, we focused on the ergonomics of handheld and shoulder-mounted shooting. The result is an ergonomic design unlike any previous Sony camera. It starts with a highly compact camera that builds up with modules to form an elegant, unified system.

Exceptional modularity. The F55 is notably small, light and modular, letting you build up the right configuration for each job—or each shot. For example, you can add the optional AXS-R5 RAW recorder whenever you need it. Or go with internal recording whenever size and weight are the highest priority.

The camera is highly modular, a major advantage whenever size and weight are primary concerns.

For rapid moves between shoulder mount and tripod, the VCT-FSA5 shoulder rig snaps quickly and securely into the VCT-U14 tripod adaptor.

3D ergonomics. Small size is particularly welcome in stereoscopic 3D shooting. The time code/genlock connections and XLR audio inputs are located in two modules that you can add or remove as needed. With the modules removed, the chassis is only slightly wider than a typical PL mount prime lens, perfect for both mirror rigs and side-by-side configurations.

Mounting threads. For even greater versatility, Sony provides mounting threads to attach third-party accessories. For example, the bottom of the camera offers three 3/8-16 and three 1/4-20 threads. The top of the camera includes four 1/4-20 threads. The detachable top handle includes five 3/8-16 and four 1/4-20 threads.

To accommodate accessories and camera mounts, Sony provides an assortment of mounting threads on the top, the detachable top handle and the bottom.

Shoulder-mount ENG/documentary dock

A powerful new accessory for the F55 is Sony’s shoulder-mount dock, sold separately. Slide the camera into the dock and suddenly you’ve got the familiar ergonomics of a 2/3-inch camcorder. The controls are right where muscle memory tells you they should be. And the connections you need are right where you need them. The combination of the shoulder-mount dock, B4 lens adaptor, sold separately, and Center Scan Mode replicates the angle of view, depth of field, and operability of a conventional 2/3 camera! The system even supports auto iris and power zoom. In this way, the F55 is a 35 mm camera when you need it. And a 2/3-inch camera when you don’t. Stay tuned for pricing and availability.

Shoulder-mount ENG/documentary dock

A powerful new accessory for the F55 is Sony’s shoulder-mount dock, sold separately. Slide the camera into the dock and suddenly you’ve got the familiar ergonomics of a 2/3-inch camcorder. The controls are right where muscle memory tells you they should be. And the connections you need are right where you need them. The combination of the shoulder-mount dock, B4 lens adaptor, sold separately, and Center Scan Mode replicates the angle of view, depth of field, and operability of a conventional 2/3 camera! The system even supports auto iris and power zoom. In this way, the F55 is a 35 mm camera when you need it. And a 2/3-inch camera when you don’t. Stay tuned for pricing and availability.

High speed: 240 fps

From stunts and explosions to the fall of a single raindrop, F55 high-speed shooting is a powerful storytelling tool. The camera also performs Slow & Quick (S&Q) motion for overcranking and undercranking. This enables you to alter the narrative by speeding up or slowing down the action, choosing frame rates from 1 frame per second (fps) to the maximum in 1 fps increments. And with the F55, every high speed shooting, overcranking and undercranking mode delivers full quality. There's no sacrifice in bit depth and no "windowing" of the sensor. So there's no crop factor, no loss in angle of view.
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High speed: 240 fps

From stunts and explosions to the fall of a single raindrop, F55 high-speed shooting is a powerful storytelling tool. The camera also performs Slow & Quick (S&Q) motion for overcranking and undercranking. This enables you to alter the narrative by speeding up or slowing down the action, choosing frame rates from 1 frame per second (fps) to the maximum in 1 fps increments. And with the F55, every high speed shooting, overcranking and undercranking mode delivers full quality. There's no sacrifice in bit depth and no "windowing" of the sensor. So there's no crop factor, no loss in angle of view.

60 fps

4K RAW, XAVC 4K and XAVC HD out of the box at launch

XAVC QFHD with the free v3.0 upgrade, expected December 2013

180 fps XAVC HD, with the free v2.0 upgrade, now available.

240 fps 2K RAW, with the optional AXS-R5 outboard recorder and the free v2.0 upgrade, now available. In this way, the F55 achieves the highest frame rates most productions will need, while retaining exceptional, 16-bit image quality.

More than just a pretty interface

Carefully designed with significant input from cinematographers, the F55 provides an incredibly rich range of controls. And the interface is nicely intuitive. Instead of diving through menus, you get direct, one-touch access to key shooting parameters including frame rate, shutter speed, color temperature, ISO sensitivity and gamma. Assignable buttons mean that favorite adjustments are always at your fingertips.
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More than just a pretty interface

Carefully designed with significant input from cinematographers, the F55 provides an incredibly rich range of controls. And the interface is nicely intuitive. Instead of diving through menus, you get direct, one-touch access to key shooting parameters including frame rate, shutter speed, color temperature, ISO sensitivity and gamma. Assignable buttons mean that favorite adjustments are always at your fingertips.

Real-time 4K output and other vital connections

The F55 offers powerful connections, including real-time 4K output up to 60p. This supports all-new possibilities, including 4K live production as well as real-time output to a compatible 4K monitor. It's made possible by four 3G-SDI outputs. The HDMI® v1.4a output supports real-time 4K (4:2:0, 8 bits, up to 30p). There's also USB, DC in connection, a removable XLR audio module and a removable time code/genlock module. The XLR inputs accept balanced analog signals, provide 48-Volt phantom power and will accept four channels of AES/EBU digital audio with an expected free firmware upgrade.
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Real-time 4K output and other vital connections

The F55 offers powerful connections, including real-time 4K output up to 60p. This supports all-new possibilities, including 4K live production as well as real-time output to a compatible 4K monitor. It's made possible by four 3G-SDI outputs. The HDMI® v1.4a output supports real-time 4K (4:2:0, 8 bits, up to 30p). There's also USB, DC in connection, a removable XLR audio module and a removable time code/genlock module. The XLR inputs accept balanced analog signals, provide 48-Volt phantom power and will accept four channels of AES/EBU digital audio with an expected free firmware upgrade.

Four 3G-SDI outputs can support live 4K production or connection to the Sony PVM-X300 4K monitor.

Long-life Olivine Battery

At Sony, we don't just know about cameras. We're also a leader in battery technology. The F55 takes advantage of Sony's innovative BP-FL75 battery pack, which uses Olivine—Lithium Iron Phosphate—instead of conventional Lithium Ion cathodes. The result is twice the number of charge-discharge cycles, compared to previous Sony batteries.
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Long-life Olivine Battery

At Sony, we don't just know about cameras. We're also a leader in battery technology. The F55 takes advantage of Sony's innovative BP-FL75 battery pack, which uses Olivine—Lithium Iron Phosphate—instead of conventional Lithium Ion cathodes. The result is twice the number of charge-discharge cycles, compared to previous Sony batteries.

The BP-FL75 Olivine battery works with Sony's BC-L90 quick charger, which accommodates two batteries and cuts charging time from 120 minutes to just 60 minutes, compared to conventional Sony chargers.

The cameras and batteries are also interoperable. The F55 camera accepts Sony's conventional batteries: the BP-GL95A, GL65A, L80S and L60S. These batteries work with the BC-L90 charger (at normal speed). And the BP-FL75 Olivine battery works with the conventional BC-L70 and L160 chargers (at normal speed).

< The Olivine battery is a remarkable piece of technology, capable of twice the charge-discharge cycles and recharging in half the time, compared to previous Sony batteries.

> The supplied V-mount battery adaptor includes two aux DC outputs. This adaptor is not required when the camera is used with the optional AXS-R5 RAW recorder.

The Sony 4K universe

Like high definition a decade ago, 4K is emerging as a consumer entertainment platform. And Sony is playing a pivotal role in this transition. When we launched the world's first commercial 4K projectors in 2005, we had to explain that a "K" was 1024 horizontal pixels and that "4K" meant 4096 x 2160 resolution. We had to itemize the advantages with tutorials on resolution and seating distance. Today 4K is a robust production platform. It is enshrined in the Digital Cinema Initiatives (DCI) specification. The ITU and SMPTE have both issued 4K standards. And the Consumer Electronics Association has recently launched the term "Ultra High-Definition" (Ultra HD) to cover 4K consumer products.
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The Sony 4K universe

Like high definition a decade ago, 4K is emerging as a consumer entertainment platform. And Sony is playing a pivotal role in this transition. When we launched the world's first commercial 4K projectors in 2005, we had to explain that a "K" was 1024 horizontal pixels and that "4K" meant 4096 x 2160 resolution. We had to itemize the advantages with tutorials on resolution and seating distance. Today 4K is a robust production platform. It is enshrined in the Digital Cinema Initiatives (DCI) specification. The ITU and SMPTE have both issued 4K standards. And the Consumer Electronics Association has recently launched the term "Ultra High-Definition" (Ultra HD) to cover 4K consumer products.

Just as high definition was a giant leap ahead of standard definition, 4K is far more immersive than HD.

The Sony 4K universe includes consumer products like the XBR-84X900 television.

Sony 4K products include the world's leading lineup of Digital Cinema 4K projectors, with over 13,000 systems installed. We also created the PVM-X300 4K professional monitor, plus a line of 4K projectors for visualization, simulation auditoriums and post. Our Sony Vegas® Pro 12 software is enabled for 4K nonlinear editing. Our 4K consumer products include the VPL-VW1000ES home theater projector, three televisions and even Sony PlayMemories™ Studio software for the PlayStation®3 console, which enables owners to load still pictures onto the console for viewing in 4K on a television or projector.

Sony camera accessories

Sony camera accessories

Connectivity, flexibility and longer cables

Connectivity, flexibility and longer cables

PL mount lenses via supplied adaptor

From Cooke to Angenieux, Fujinon, Zeiss and Leica, 35mm Positive Lock (PL) mount motion picture lenses inspire critical appreciation and passion among the professionals who use them. A broad infrastructure of movie production has arisen to exploit the creative potential of this glass. The Sony F55 takes full advantage with the supplied PL mount adaptor. Proven across two years of intensive use with the Sony F3, the PL adaptor is machined to tight tolerances and performs well, even when matched to heavy zooms and telephotos.
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PL mount lenses via supplied adaptor

From Cooke to Angenieux, Fujinon, Zeiss and Leica, 35mm Positive Lock (PL) mount motion picture lenses inspire critical appreciation and passion among the professionals who use them. A broad infrastructure of movie production has arisen to exploit the creative potential of this glass. The Sony F55 takes full advantage with the supplied PL mount adaptor. Proven across two years of intensive use with the Sony F3, the PL adaptor is machined to tight tolerances and performs well, even when matched to heavy zooms and telephotos.

Sony's proven PL mount adaptor is robust and ready to handle heavyweight telephotos and zooms. The native FZ mount is wide and shallow, the better to accommodate third party lens adaptors.

Hot shoe for ARRI® LDS and Cooke® /i metadata

Electronic contacts for both the Cooke /i and ARRI Lens Data System (LDS) interfaces enable frame-by-frame capture of lens metadata, including your settings for zoom, focus, iris and depth of field. The camera automatically records these settings along with the picture. So even if you're pulling focus and zooming simultaneously, your VFX team will know exactly what you've done, frame by frame.
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Hot shoe for ARRI® LDS and Cooke® /i metadata

Electronic contacts for both the Cooke /i and ARRI Lens Data System (LDS) interfaces enable frame-by-frame capture of lens metadata, including your settings for zoom, focus, iris and depth of field. The camera automatically records these settings along with the picture. So even if you're pulling focus and zooming simultaneously, your VFX team will know exactly what you've done, frame by frame.

The PL mount adaptor includes hot shoe contacts for the Cooke /i system (at the 12 o'clock position) and ARRI LDS system (at 3 o'clock).

Sony CineAlta PL-mount prime lenses

Sony CineAlta PL-mount prime lenses

With the F55, Sony introduces our second generation of cost-effective PL mount prime lenses, featuring a dramatic improvement in build quality. Thanks to refined glass, all are certified for 4K capture, while minimizing geometric distortion, vignetting and breathing. A 9-blade iris delivers beautiful bokehs. The focus rings rotate 240°. The series includes focal lengths of 20, 25, 35, 50, 85 and 135 mm. For easy lens changes, all have the same T2.0 aperture, the same external diameter, matte box diameter, and gear locations for follow focus and aperture. All are the same size except for the 135 mm.

Sony FZ mount auto focus servo zoom

Ideal for run-and-gun projects, the SCL-Z18X140 delivers features you might not expect in Super 35mm shooting. These include auto/manual focus, auto/manual iris, servo/manual zoom and incredibly effective optical image stabilization. (Manual zoom is supported by camera firmware v1.12. Power zoom requires v1.2, July 2013, plus a power zoom control such as the Sony CBK-DCB01.)

You can take advantage of auto focus, auto iris, image stabilization and servo zoom in Super 35 cinematography with Sony's SCL-Z18X140 14x zoom.

SLR lenses via third-party adaptors

SLR lenses via third-party adaptors

Slip off the supplied PL-mount adaptor to reveal the native FZ mount. The 19 mm flange focal length is extremely shallow, opening the camera up for still camera lenses. You can already choose from the following commercially-available adaptors:

OptiTek Canon EF to FZ mount adaptor

MTF MTNIKGF3 Nikon G/DX to FZ mount adaptor

MTF MTCANFDF3 Canon FD to FZ mount adaptor

MTF MTB4F3 2/3-inch B4 to FZ mount adaptor

Birger Engineering Canon EF to FZ mount adaptor

IB/E Optics HDx35 2/3-inch B4 to PL mount optical adapter

The MTCANFDF3 from MTF enables Canon FD glass to be used on the camera's native FZ mount.

Sony B4 broadcast lens adapters

Sony B4 broadcast lens adapters

2/3-inch B4 lenses via Sony adaptors

A growing number of news and documentary shooters want to use the F5 with their familiar 2/3-inch broadcast lenses. These users depend on powerful zoom and the ability to accommodate both Electronic Newsgathering (ENG) and Electronic Field Production (EFP) operating styles. To meet the need, Sony has created the LA-FZB1 and LA-FZB2 2/3-inch to FZ mount lens adaptors, which work with the free v2.0 upgrade.
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2/3-inch B4 lenses via Sony adaptors

A growing number of news and documentary shooters want to use the F5 with their familiar 2/3-inch broadcast lenses. These users depend on powerful zoom and the ability to accommodate both Electronic Newsgathering (ENG) and Electronic Field Production (EFP) operating styles. To meet the need, Sony has created the LA-FZB1 and LA-FZB2 2/3-inch to FZ mount lens adaptors, which work with the free v2.0 upgrade.

The LA-FZB1 features an optical system that enlarges the 2/3-inch image 2.6 times to cover the much larger Super 35 image sensor. (Of course this incurs a 2.6 stop loss of light, which is made easier to accept by the camera's prodigious sensitivity.) The adaptor supports lens zoom, iris control, and lens-mounted recording stop/start control. A standard 12-pin Hirose connector on the adaptor powers the lens from the camera.

The LA-FZB2 has all the features of the FZB1, plus motor-driven Neutral Density (ND) and Color Correction (CC) filters, which can be operated remotely in studio configuration.

Choice of recording formats

While the F55 offers the option of glorious 16-bit 4K RAW recording, not every production is prepared to take advantage. That's why the camera offers not one, but five recording formats at an incredible range of bitrates from 50 Mbps to 960 Mbps (at 24p), for images from HD to 2K to 4K. (2K XAVC and 2K RAW High Frame Rate available now with the free version 2.0 upgrade. RAW requires the optional AXS-R5 recorder.) You can choose the image type, codec, processing complexity and file size that match the needs of each project.
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Choice of recording formats

While the F55 offers the option of glorious 16-bit 4K RAW recording, not every production is prepared to take advantage. That's why the camera offers not one, but five recording formats at an incredible range of bitrates from 50 Mbps to 960 Mbps (at 24p), for images from HD to 2K to 4K. (2K XAVC and 2K RAW High Frame Rate available now with the free version 2.0 upgrade. RAW requires the optional AXS-R5 recorder.) You can choose the image type, codec, processing complexity and file size that match the needs of each project.

* Compared to previous professional AVC Intra-frame only encoding.

All updates are subject to change without notice and descriptions here-in do not represent all features being implemented.
End user firmware updates are FREE of charge. Features, specifications and timeline are subject to change. (As of October 10, 2013).

4K/2K RAW recording option

Conventional HD recording requires the image sensor signal to go through a demosaicing process, gamma encoding, bit depth reduction and a color matrix—"baking in" many decisions that may be better left for post. RAW recording requires none of these, preserving more of the original camera signal for maximum image quality and maximum flexibility in post.
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4K/2K RAW recording option

Conventional HD recording requires the image sensor signal to go through a demosaicing process, gamma encoding, bit depth reduction and a color matrix—"baking in" many decisions that may be better left for post. RAW recording requires none of these, preserving more of the original camera signal for maximum image quality and maximum flexibility in post. Sony's optional AXS-R5 Access Memory System recorder offers all of these benefits. But even among today's RAW recording systems, the AXS-R5 stands apart.

Derived 2K RAW without windowing. Unique to this process, there is no line skipping or sensor windowing. So there's no crop factor, no loss in angle of view. 2K RAW is a smart choice for HD productions and it's just one quarter the data of 4K RAW. 2K RAW High Frame Rate has arrived with the free v2.0 upgrade. (Normal speed 2K RAW with the free v3.0 upgrade, expected December 2013.) Watch the video, "Earth Air Fire Water" here.

Incredible 16-bit precision. By design, Sony's 16-bit recording captures more tonal values than the human eye can differentiate. Sony RAW retains 16 times as many Red, Green and Blue gradations as 12-bit RAW and 64 times as many tones per channel as 10-bit recording. Sony 16-bit linear RAW is also the ideal point of entry into the 16-bit linear Academy Color Encoding System (ACES) workflow.

Simultaneous RAW + Onboard SxS® recording. Instead of requiring you to patch together a science project, Sony provides a coordinated "off-line, on-line" workflow with simultaneous recording to internal SxS cards and the optional AXS-R5 RAW recorder. For easier conforming in post, you get the same start and stop frames on both versions.

To support the tremendous bitrates of 4K RAW recording, Sony created the AXSM Access Memory System, which includes the AXS-R5 recorder, AXS-512S24 memory card and an affordable USB 3.0 reader, the AXS-CR1. Once on a PC, F5RAW files can be screened using Sony's free RAW Viewer software.

AXS-R5 RAW recorder. This low-profile module fits on the back of the F55, matching the camera body in height and width.

512 GB* capacity, which equals up to 60 minutes of 4K RAW and up to 240 minutes of 2K RAW recording

2.4 Gigabits per second (300 MB/sec) write speed

1.95 Gigabits per second (250 MB/sec) read speed

exFAT file system for near-instant mounting on a computer

Small and lightweight; 2-3/8 x 3-1/4 x 3/8 inches (60 x 81 x 9.4 mm)

* 1 GB equals one billion bytes, a portion of which is used for data management functions.

AXSM A Series memory cards. Another media option for the AXS-R5 recorder is the AXSM A Series. Because end-users have told us that some shoots go better with more frequent media swaps, we’re introducing a smaller, 256 GB* card in addition to a larger 1 TB* version. These small, lightweight cards have the same form factor as Sony’s SxS® media, and work in the AXS-R5 recorder and AXS-CR1 card reader via a supplied adaptor. Expected availability is September, 2014.

* 1 GB equals one billion bytes and 1 TB equals one trillion bytes, a portion of which is used for data management functions.

30-inch screen (viewable area, measured diagonally) is light enough for field production

10-bit panel with LED backlighting

In-plane switching (IPS) for wide viewing angle

HDMI® v1.4 x4

Simultaneous display of four HD images

2K/HD zoom

Camera assist function

The PVM-X300 monitor accepts four 3G-SDI outputs from the F55 for real-time 4K monitoring and playback. But you don't need the camera to play back. When furnished with an SxS card adaptor, the PVM-X300 will also play back XAVC 4K recordings from SxS cards.

ACES color management

In a perfect world, the colors you intend would be the colors your audience sees, whether in a movie theater or at home. The F55 can achieve that goal thanks to the Academy Color Encoding System (ACES).
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ACES color management

In a perfect world, the colors you intend would be the colors your audience sees, whether in a movie theater or at home. The F55 can achieve that goal thanks to the Academy Color Encoding System (ACES).

ACES was created by the Science and Technology Council of the Academy of Motion Picture Arts and Sciences (AMPAS). The ACES color workflow holds tremendous promise because it clears away so many stumbling blocks.

The versatile XAVC codec

To create the F55, Sony embraced an approach we called "completely new everything." During the two-year development process, we created a next-generation image sensor, a fresh generation of SxS® cards, an innovative outboard RAW recorder, and even a next-generation compression system.
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The versatile XAVC codec

To create the F55, Sony embraced an approach we called "completely new everything." During the two-year development process, we created a next-generation image sensor, a fresh generation of SxS® cards, an innovative outboard RAW recorder, and even a next-generation compression system. This is the XAVC codec, which Sony created to accomplish several key missions:

Leverages the declining cost of computer processing power and data storage.

In many respects, the XAVC codec is a straightforward outgrowth of industry standards. This Intra-frame-only codec is firmly rooted in the industry-standard H.264/MPEG-4 Advanced Video Coding technology that Sony helped develop. The XAVC codec specifically complies with H.264 level 5.2. The codec also encapsulates video essence in an industry standard MXF OP-1a wrapper.

Under the hood, two technical features distinguish the XAVC codec.

The bitstream includes Sequence Parameter Set (SPS) and Picture Parameter Set (PPS) bits, enabling the recorder to dynamically optimize the picture of each individual frame. The optimized image setting remains attached to the picture even after editing.

Sony's multi-pass encoding includes a clever pre-coding mechanism. This enables more refined bit allocation based on human visual characteristics and superior multi-generation performance, compared to previous professional AVC Intra-frame only encoding. The pre-coder is a crucial advantage in high-frame rate and 4K recordings.

The F55 incorporates the XAVC codec in an exclusive, custom-built chipset of amazing versatility. It also performs MPEG-2 HD422 and SR File processing, while keeping power consumption low. (SR File available in v1.2 upgrade, July 2013.)

Simultaneous recording

In today's fast-paced, high-pressure production environment, editorial sometimes needs to get working at the earliest possible moment. Sony understands. That's why the F55 performs simultaneous recording. Instead of requiring you to patch together a science project, Sony provides a coordinated "off-line, on-line" workflow. For easier conforming in post, you get matching start frame and stop frame in both versions.
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Simultaneous recording

In today's fast-paced, high-pressure production environment, editorial sometimes needs to get working at the earliest possible moment. Sony understands. That's why the F55 performs simultaneous recording. Instead of requiring you to patch together a science project, Sony provides a coordinated "off-line, on-line" workflow. For easier conforming in post, you get matching start frame and stop frame in both versions.

Simultaneous RAW and SxS® recording enables you to consider the RAW file as camera original negative and the SxS file as your workprint, immediately ready for editorial.

The F55 (unlike the F5) can also record two different codecs simultaneously to a single SxS PRO+ card.

Sony Professional Disc™ media has a track record for reliable storage in the harshest of field conditions. It's also accepted by thousands of XDCAM® HD decks and thousands more XDCAM HD drives.

For XDCAM HD 422 files. Files captured as 50 Mbps MPEG-2 422 are fully compatible with XDCAM HD systems. Simply drag & drop files onto the clip folder of Professional Disc media. The result is a bit-for-bit copy that will play on XDCAM HD decks and read on XDCAM HD drives. You even get XDCAM 2 Mbps proxy video, which is generated automatically as you copy. This solution is perfect for playing back, archiving and delivering HD projects.

For data backup of other files. You can use Professional Disc media as pure data storage for F55RAW, SR File and XAVC files.

Sony Optical Disc Archive (ODA) cartridges hold up to 1.5 Terabytes1 of data in compact, handheld format. Each cartridge contains 12 data discs, organized as a single volume. Unlike generic data storage systems, Sony ODA systems have utilities for managing audio/visual content. You can use our Content Manager to back up MPEG-2 and XAVC for archiving, restoring and delivery to clients. The system automatically generates metadata, including browse-able proxy video and thumbnail pictures. You can also use ODA cartridges to back up F55RAW files as data.

1 One terabyte is a trillion bytes, a portion of which is used for data management

MPEG-2 HD workflow

Launched with Sony's XDCAM® HD system, the MPEG-2 HD422 codec at 50 Megabits per second is an industry workhorse. It's the go-to format for reality TV, network news, sports and many other genres. It's an accepted format, receiving the formal blessing from many of the world's most demanding broadcasters and channel operators. And it's a compatible format, with near universal support from third-party system vendors.
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MPEG-2 HD workflow

Launched with Sony's XDCAM® HD system, the MPEG-2 HD422 codec at 50 Megabits per second is an industry workhorse. It's the go-to format for reality TV, network news, sports and many other genres. It's an accepted format, receiving the formal blessing from many of the world's most demanding broadcasters and channel operators. And it's a compatible format, with near universal support from third-party system vendors.

The codec is in such widespread use because it combines full HD resolution, vivid 4:2:2 color and relatively lightweight files at a modest 50 Mbps. It's optimized for fast PC processing, modest storage cost and easy network file transfers.

Files recorded in the MPEG-2 HD422 codec play back easily on Sony's Content Browser software on both Windows® and Macintosh® computers.

XAVC workflow

The XAVC codec delivers powerful advantages, including beyond-HD performance in resolution and frame rates, as well as the subtle grayscale rendition of 10-bit precision. Even in early days, the XAVC codec is supported by a broad range of third-party workflow vendors.
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XAVC workflow

The XAVC codec delivers powerful advantages, including beyond-HD performance in resolution and frame rates, as well as the subtle grayscale rendition of 10-bit precision. Even in early days, the XAVC codec is supported by a broad range of third-party workflow vendors.

Sony's Content Browser software plays back files recorded in the XAVC codec on both Windows® and Macintosh® computers.

SR File workflow

The SR File brings the legendary image quality of HDCAM-SR recording into the file-based, direct-to-edit world. As a presence throughout Hollywood postproduction and a force in television program exchange, the SR File system enjoys widespread third-party support. (Available with free v1.2 upgrade, expected July 2013.)
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SR File workflow

The SR File brings the legendary image quality of HDCAM-SR recording into the file-based, direct-to-edit world. As a presence throughout Hollywood postproduction and a force in television program exchange, the SR File system enjoys widespread third-party support. (Available with free v1.2 upgrade, expected July 2013.)

F55RAW workflow

F55RAW files take advantage of the trail already blazed by Sony's F65RAW format. The F55RAW files use the same Sony RAW Viewer software, plus many of the same third-party solutions for dailies, editing, finishing and visual effects.
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F55RAW workflow

F55RAW files take advantage of the trail already blazed by Sony's F65RAW format. The F55RAW files use the same Sony RAW Viewer software, plus many of the same third-party solutions for dailies, editing, finishing and visual effects.

Sony's RAW Viewer software makes it easy to view and back up F65RAW, F55RAW and F5RAW files. You can also check highlight handling, scrutinize image noise and select takes.

Project frame rates

Project frame rates

NOTES: All updates are subject to change without notice and descriptions here-in do not represent all features being implemented
End user firmware updates are FREE of charge. Features, specifications and timeline are subject to change. (As of November 8, 2013).

Steve Lawes captures 240 fps

NBC's "The Blacklist", reported by Pauline Rogers, ICG Magazine

"What goes around comes around," is the age-old dictum that attracted director Joe Carnahan to the new Sony/NBC series The Blacklist. Carnahan, known for kinetic action features like The A-Team, Smokin' Aces, and Narc, calls the new show "a fast-paced puzzler, where I immediately saw endless possibilities centered around Raymond 'Red' Reddington (James Spader), a covert intelligence operator [known as "The Concierge of Crime," who has brokered shadowy deals for criminals across the globe]. He comes back because he's got multiple scores to settle. His choice of novice profiler Elizabeth Keen (Megan Boone) as his unwitting accomplice provides a great dynamic."
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NBC's "The Blacklist", reported by Pauline Rogers, ICG Magazine

"What goes around comes around," is the age-old dictum that attracted director Joe Carnahan to the new Sony/NBC series The Blacklist. Carnahan, known for kinetic action features like The A-Team, Smokin' Aces, and Narc, calls the new show "a fast-paced puzzler, where I immediately saw endless possibilities centered around Raymond 'Red' Reddington (James Spader), a covert intelligence operator [known as "The Concierge of Crime," who has brokered shadowy deals for criminals across the globe]. He comes back because he's got multiple scores to settle. His choice of novice profiler Elizabeth Keen (Megan Boone) as his unwitting accomplice provides a great dynamic."

Carnahan and cinematographer Yasu Tanida [Frank Prinzi, ASC, will handle series chores] had just wrapped a pilot where they shot gritty and grainy handheld with mixed color temperatures. "Joe loved this script because it called for a different style, more dolly moves, sharper blacks and a bigger, cleaner look," says Tanida. "We didn't want a Kubrickian look. It was almost a tableau style," adds Carnahan. "So Yasu and I looked for a camera package that would support that – and allow us to make [the District of Columbia] a physical and metaphoric labyrinth."

Since The Blacklist was produced through Sony Pictures, Tanida and his team had access to a Beta version of Sony's new F55. "The first thing that Joe liked about it was the form factor, with its lightweight and compact size," Tanida explains. "The Sony reps said it wasn't quite ready to be put through a shoot. They were encouraging us toward the F65. So, it was either the Alexa, F65, or a Beta F55."

Panavision allowed Tanida to test the camera the day after it arrived at their Woodland Hills office. He lined up all three cameras and compared their outputs at the 4K Colorworks Lab on the Sony lot. "I love Alexa but I knew we could get the F55 into different places," Carnahan recalls. "The fact that it was Beta didn't matter – I knew we had access to technicians on the lot if things got too far afield."

"It could record the workflow as we set it, and it had a unique look to it, with sharper blacks and good skin tones," Tanida adds. "Alexa tends to want to go more green; the F55 tended to want to be more yellow in skin tones."

Steadicam/camera operator Brant Fagan, SOC, was also enthusiastic about the new F55. "It has a physical presence that operators and assistants can be happy with," he says. "Despite the smaller chassis, as compared to Alexa, the controls are well laid-out and work well when rigged on a Steadicam. The modifications from Panavision combined with its upgrades and support of the system make this a joy to fly."

Fagan says the size of the F55 allowed for intimate choreography with actors and location sets – the majority of the pilot. "It allowed us into the story on a personal level, and the form factor for hand-held was truly refreshing," he recounts. "Since the Sony Raw recorder doesn't add 8.5 pounds to a Steadicam or hand-held configuration, it was great for stunts and close quarters."

With a $12-million-plus budget and a 17-day shoot, Tanida and Carnahan could really indulge their adventurous side. Or as Tanida puts it: "Joe won't admit it, but every scene and set-up we do, he's always fighting himself to try and attempt a move or an angle or a reveal that he hasn't done before. When a new idea doesn't go our way, we can always opt to shoot the scene conventionally.

"At one point, Eddie Kiza (B-camera dolly grip) was pushing the Pee-Wee Dolly with the 11:1 Primo zoom on it into position for the next setup over a brick road at the Brooklyn Botanical Gardens," Tanida continues. "Joe was watching the monitor, loved the frenetic shaking of the camera. We chased Megan Boone down this brick road at full speed, without dolly track on the Pee Wee, 11:1 zoom lens, zooming in and out, having the focus go in and out. I was afraid the sensor on the F55 would take a beating, but it performed beautifully."

"Yasu is my ideal wingman," Carnahan laughs, "because he's even more of a daredevil than me. At one point we attached two GoPros to the feet of a stuntman doing an upside-down dive into the water. Great shot – but a little too audacious. Then, of course, there was Yasu calm and cool when we shot a dolly back with a 14-millimeter lens as the sun was going down and we were losing the light. Yes, he knew it would have been better with a 75-millimeter, but we chose to go wide – and it worked with the F55."

The give and take between director and DP figured considerably in several large key sequences; for example, creating the prison set where Red was secretly held by the FBI. "It's hard to re-invent 'jail cell' scenes, but I hope people will like what we did," Tanida shares. "The Locations department found a huge abandoned floor in the old New York Post Office that had a viewing deck that ran across the whole floor. Production Designer Andy Jackness built this amazingly modern, seethrough cell that retracted back completely to expose Red."

"We didn't want to over-light the set and be locked down to where James Spader is being held," adds gaffer Michael Marzovilla. "It was done with small, precise strokes, nothing in-your-face. Joe likes to move fast, so you need to be ready." Like needing to place 25 Parcans with medium globes down the long walkway to the cell, all on dimmers. "All of the surrounding lights were daylight-balanced using four-foot Kino tubes in frame and 4K HMI Pars aimed into the lens," says Tanida.

"In the shots where Red and Liz talk to each other, the light was warm, and everywhere outside of that space had a bluer, colder feel," he adds. "Our intent was to have the audience feel like Red and Liz were close, like family, even though they had only just met for the first time in the pilot."

When they did get into close-ups between these two characters, Marzovilla introduced Tanida to an interesting alternative – Westcott lights that are normally used for still photography. "They are lightweight, well-designed, and easy to rig," Marzovilla explains. "I like them for multiple uses, and the grid option by Lightools makes it a perfect all-around light: cuts down on using nets, cutters and diffusion."

While Red's prison allowed for some intimate close-up work, closing down the Long Island bridge, for a scene where a General's daughter gets taken out of their Suburban as she rides across with Liz as her protector, was another animal altogether. The scene mixed physical stunts, Technocrane, SFX, VFX, insert unit, and green screen on stage.

"We had four operators on every setup, sometimes looking 270 degrees at once, so a crew of 50 people had to tuck into a sliver of space on the bridge," Tanida recounts. "More important than lighting and camera was being able to communicate to each department what, when, and how Joe and I were shooting each particular shot."

"Joe loves overcoming obstacles," says A-camera operator Charlie Libin. "He throws them at his characters and his crew. The bridge offered three ways out: forward, backward, or the water. So Joe, Yasu, and [stunt coordinator] Ben Bray mapped out the entire sequence with AD Eric Henriquez in prep. Brant, Jeff Dutemple, and I were more like a hand-held documentary crew in the sense that Yasu and Joe loved keeping us off-balance and never ahead of the action. Could be 18 millimeter, or Yasu would say, 'Joe, how about 100 millimeter? You dig it?' 'Do it, brother,' Joe would respond with a grin, and we'd be off and running. In the last light of the day, Doug Pellegrino on the wheels nails a breathtaking Technocrane swoop over the SUV.

"Ben Bray also plays the hazmat worker to first pull his weapon," Libin continues. "Joe sees my lens just behind Ben's ear as he zigzags, firing an AR-15, quick up-down tilts to hands, hot brass flying. I'd touch my free hand on Ben's shoulder, running full-tilt boogie – he's a human Maserati. The Sony F55s are nice little boxes with lens flange close to the base. Panavision built a rig around it – perfect for gripping the front matte box."

From hand-held to Steadicam, The Blacklist team kept everything moving. Fagan says Carnahan "pushed it to the max" in two very different environments – New York's Waldorf-Astoria in an opulent 14-room suite, and on a crowded Washington D.C. street. The hotel scene reveals how Red has been able to pull the FBI's strings. "The Steadicam, with a 14.5-millimeter Primo, made the rooms another character," Fagan elaborates, "as we dance about with Reddington while he manipulates the agents. The wide lens combined with the overall smaller size of my rig allowed me to move about the rooms with the actors and not be limited or trapped by furniture or set dressing.

"Filming on Pennsylvania Avenue, in Washington," he continues, "Spader's character barely escapes a last-minute takedown and slips into the crowds while fielding a phone call. We needed to showcase the location and, more importantly, make Reddington blend and melt away into a sea of heads. This meant multiple passes, beginning with wide lenses and finishing tight on him with a 150-millimeter Primo."

Carnahan and Tanida were unabashedly proud of the team behind The Blacklist, including the vital contributions of DIT Curtis Abbott, whom Carnahan says was a "massive help to get the finished look in key frames."

"This was the second pilot with Yasu, and we approached the workflow in a similar fashion as the first one," Abbott recalls. "Using the F55 currently and shooting Slog2, you can only monitor in Slog2. This would mean that everyone on set would have to see a flat image. To counter that, we decided to do live color correction with Pomforts Live Grade. I took the signal from all cameras to my cart, and applied the color correction we discussed using a Sony BVM-F250 reference monitor. I would make any tweaks necessary from scene to scene and send a color-corrected signal to our video assist so that everyone could see the look we were going for. Once we completed a scene, I would save that look as a CDL file that I sent to post to be applied to the dailies.

"The F55 with the R5 recorder allows you to shoot a compressed 1080 file internally and Raw 4K simultaneously," Abbott adds. "This meant we could store all the compressed footage from the show on my Raid. Using Scratch Lab, I was able to apply the CDLs we created with Live Grade, which allowed us to recall any footage at any time for matching purposes or to make further adjustments to the image."

Abbott says that "early firmware" on the F55 didn't allow for over- or under-cranking – only 24 fps. "But Joe really wanted a few shots in slow-mo," the DIT states. "During some testing on set, I discovered that you could set the camera to 59.98i, and it would record interlaced internally, which would be unusable. But the R5 recorder would still record Progressive. So, we were able to acquire 60 frames per second and just convert it afterward to 24 for playback in slow motion."

Tanida, who says he tends to "light very aggressively, with a lot of contrast," emphasizes the importance of having a DIT as attentive to a DP's needs as Abbott. "More than a few times he'd check to make sure I was okay with the amount of flares or over-exposure in a given frame," he remembers.

The Blacklist tested higher than any other NBC pilot in more than a decade, earning the coveted Monday 10:00 p.m. slot starting September 23, which Tanida says is a testament to all of the hard work the crew put into the project.

"Joe's ability to push the limits and make his own rules made this a special project," Tanida concludes. "We crossed the 180-degree rule so many times, it may well continue as a motif throughout the season. What you see on screen is pure adrenaline and energy, a visual style that makes for a very unique kind of show."

Juan Salvo grades F55 RAW S-Gamut for "Color"

Every spring, Hindus celebrate the festival of Holi with music, dancing and the playful throwing of colored powder at each other. This year, GRS Systems captured the New York City celebration with the Sony F55 camera in 4K RAW with S-Gamut, the camera's extended color reproduction.
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Juan Salvo grades F55 RAW S-Gamut for "Color"

Every spring, Hindus celebrate the festival of Holi with music, dancing and the playful throwing of colored powder at each other. This year, GRS Systems captured the New York City celebration with the Sony F55 camera in 4K RAW with S-Gamut, the camera's extended color reproduction.

"When you are in this environment, and see the colors first-hand, it's otherworldly," said director Juan Salvo, colorist at "The Colourspace," a full service DI and commercial grading facility in NYC. "You think to yourself there is nothing in everyday existence that has this richness and brightness of colors. The ultra-wide gamut of F55 RAW was really stunning. Normally when you are capturing densely saturated objects you end up at a point where the image breaks, with banding, tearing in the image, posterizing due to a lack of information in the colors. Having the extra oomph of information, we never hit that point of having to pull back from the grade, as you get with other cameras."

"With run and gun documentary style shooting where the DPs are under stress, you cannot be riding the exposure. With the F55 RAW even if the exposure looks over you are generally OK. We were able to recover detail from several stops above exposure. We just set exposure once with the light meter, and let it go. Just roll as if we were shooting film, and know that we would have that latitude and dexterity needed to make it work."

Salvo explains that the production came together in a matter of days. "We had one of the very first production Sony F55 cameras and were committed to delivering the finished short at NAB. The celebration was on March 31 just a short distance from our office. So it was perfect. We contacted the festival organizers, got permission to shoot. We even got the colored powders before the shoot so we could test the cameras, with respect to filtering, and how they react under different lighting conditions. We also had rigs made, and water proof housings to protect the cameras from the colored powder being thrown around."

"On the day, we shuttled the cards back to the office and within minutes we were looking at the 4K footage playing back in real time on the Resolve system. The latitude was amazing. We had such fine control, qualifying secondary color correction on specific vectors. We caught bursts of colored dust in the air showing the 4K clarity, then isolated those colors and made them really pop to reflect what we had just seen in person. Other cameras cannot do this. This is the first digital format where I am manipulating what feels like a thick camera negative, really pushing it, really getting tremendous detail."

While the final edit featured F55 RAW, the production also included 4K XAVC from the F55 and 4K RAW from the Sony F5. "We were recording RAW on Sony's AXS media," Salvo said, "running back to our production house, off-loading the cards, then returning the cards to location and continue shooting. We recorded about three and half hours of 4K RAW material in all."

"This was before 'Slow and Quick Motion' was enabled on the cameras. Everything was shot at 60p with the intent of slowing it down. We made Apple ProRes 720p dailies out of DaVinci Resolve, then slowed down on playback to 24p. With the NAB deadline, we did the cut in four days. We edited in FCP 7, created an XML and conformed back in Resolve to the original 4K content. Conforming was seamless. We did a primary color pass in P3 color space in our DI theater. We were really punching up the look of the piece, as we were after a bright saturated look which is exactly what we saw with our own eyes on location during the shooting."

"Simultaneously to the Resolve conform we sent out an OMF for the sound work. Titles were done in After Effects with Alpha channels, and we imported those into Resolve for the 4K online."

Juan Salvo summed up his first encounter with the production F55. "Having used and graded pretty much every camera out there, I find the F55 holds its own with respect to dynamic range, resolution, and colorimetry. I'd recommend the camera for almost any production scenario."

F55 zooms into the World Series for FOX Sports

FOX Sports is using Sony's F55 professional 4K camera to give television viewers a better look at close plays during the 2013 World Series. For each game, one manned F55 camera is positioned high over first base to cover all three bases and home plate.
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F55 zooms into the World Series for FOX Sports

FOX Sports is using Sony's F55 professional 4K camera to give television viewers a better look at close plays during the 2013 World Series. For each game, one manned F55 camera is positioned high over first base to cover all three bases and home plate.

The camera signals are sent over fiber to the game production truck and put through Sony's BPU-4000 baseband processor unit, allowing FOX Sports to do multiple cut-outs and zooms of 4K images and extract crisp, clear HD images with no pixel degradation.

"There's more flexibility with 4K content," said Jerry Steinberg, senior vice president, technical operations, of FOX Sports. "You're starting with such a high-resolution image and more picture information to work with. Our cut-outs and zooms end up in much higher quality and we can really zoom in on a shot and still get a completely clear image."

Sony's F55 camera positioned at Boston's Fenway Park for the 2013 World Series

The F55 camera and BPU-4000 unit combine with Sony's CA-4000 camera control unit to create an easy-to-use system that makes operation similar to HD cameras. Running the Quad HD signal from the camera through the Sony CCU lets operators shade the 4K camera the same way they would with an HD camera.

"FOX's use of the F55 is a perfect example of how 4K is fast becoming an everyday broadcast reality and a must for television production," said John Studdert, vice president of strategic sales, Sony Electronics. "The 4K workflow closely resembles what operators are used to doing in HD, and the end result is ultimately a better-looking, more immersive viewing experience."

FOX Sports has previous experience with Sony professional 4K cameras. For the 2012 NFL season, the network used Sony's F65 camera for one game each week to capture ultra-high resolution images for its "Super Zoom" technology to get enhanced replays during broadcasts.

Gavin Rawlings goes deep into the Australian Outback

I've been lucky enough to travel all around Australia with my Sony F55 since I purchased it in February 2013. The nature of my work means that I travel to some of this country's most remote regions. This has given me the opportunity to really test the F55 by exposing it to extremely harsh conditions, while at the same time allowing me to capture some truly remarkable 4K imagery.
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Gavin Rawlings goes deep into the Australian Outback

I've been lucky enough to travel all around Australia with my Sony F55 since I purchased it in February 2013. The nature of my work means that I travel to some of this country's most remote regions. This has given me the opportunity to really test the F55 by exposing it to extremely harsh conditions, while at the same time allowing me to capture some truly remarkable 4K imagery.

Screen grab from F55. The Hidden Valley.

I remember hearing rumors of 'The New F' camera in late 2012. At the time I was looking around for a new lightweight camera kit to purchase. I settled on the Sony F3 after thinking long and hard about it but decided to put a hold on it when I began hearing about 'The New F'. I'm glad I did. The possibilities that the F55 offers in a single camera is unheard of, and the prospects are very exciting.

In late February my F55 arrived two days before I was heading out on a two week film trip in the Australian Simpson Desert. I had my other camera kit all set for the shoot but decided not to waste the opportunity of probably being the first person to take the F55 to the Simpson Desert. So, it was a crash course, teaching myself all the ins and outs of the F55 and it was time to head off.

I remember the first shot I filmed with the F55. It was at the top of the largest sand dune in the Simpson
Desert; Big Red. The environment just leant itself to being filmed in 4K. I combined the 4K shooting with
Canon's 30-105 light weight zoom and the F55 produced some remarkable imagery
(see 4K video at youtube.com).
I shot the whole trip in SLog2 with S-Gamut color space and was blown away with the possibilities in post! The F55 also stood up to some tremendous temperatures in the desert over the two weeks. Most days reached 48 degrees Celsius (118° F) in the shade and the camera was not bothered! The fan kicked in when it needed to and that was it. I was also using Sony's new OLED viewfinder. The clarity of that viewfinder is just amazing!

Gavin framing up a shot on the salt lakes in the Simpson Desert.

Shortly after this trip I was sent off to southern Western Australia where we spent a week following a river system through a 10,000 hectare (24,710 acres) property right out to the ocean. The weather was temperamental starting off very dry and dusty then leading to storms not seen in that area for a long time. Once again, the F55 seemed to have no problems with the conditions and was able to produce some magnificent 4K imagery in areas not many people get to see. One of my favorite memories from the trip was being able to get close to dozens of black swans in the water. I was able to spend about 20 minutes filming them from close and far, all in 4K! It was a magical moment when I startled them and they took off, flying past me no further than ten meters in front of the lens. One of my favorite shots!

Screen grab from F55. Swans just before take off.

Screen grab from F55. Graham Cahill delivering PTC.

My next few trips involved heading up to Cape York at the top of Australia, heading over to the Gulf of Carpentaria in the Northern Territory and even heading overseas to Vietnam. During these trips I developed a real appreciation of the benefits of using a 4K camera. Having the ability to capture these locations in such high quality is truly a privilege. It's important to consider storage on these trips too. We only have a limited number of drives that we can take with us. The beauty of the XAVC codec is its very efficient. Even in 4K! The fact that it can all be recorded on small SxS cards is a big plus too.

Screen grab from F55. Pelicans at sunset in the Gulf.

The capabilities of the F55 have really allowed me to push myself and change my approach to cinematography. Being able to take advantage of the large sensor, huge dynamic range, codecs as well as an endless list of future upgrades is a magnificent capability in a single camera.

I really believe Sony has listened to their market and done an amazing job with this camera. Happy shooting!